The story of the miraculous night journey of the Prophet Muhammad is based on passages from the Qur'an (17:1, 53:1–18, and 81:19–25), as well as later hadith that describe his travel (isra' ) from “the holy mosque” to “the farthest mosque” as well as his ascent to heaven (mi'raj) and what he experienced there. Paintings of this wondrous event sometimes appear in illustrated manuscripts of Persian epic and romantic poetry, such as the Khamsa of Nizami, even though they are not directly related to the stories told in these works.
In this illustration, the Prophet is shown in mid-journey, riding his human-headed steed, Buraq. Rainbow-winged angels hover around him and proffer golden vessels. Among them is archangel Gabriel: holding a banner of green, the color associated with the Prophet, he leads Muhammad on his mystical journey. Although earlier depictions of the Prophet reveal his face, here he is shown veiled, in accord with iconography adopted at the beginning of the Safavid period, in the early 1500s.

Published Catalogue Text: In Harmony: The Norma Jean Calderwood Collection of Islamic Art , written 2013107

The story of the miraculous night journey of the Prophet Muhammad is based on passages from the Qurʾan (17:1, 53:1–18, and 81:19–25), as well as later hadith that describe his travel (isrāʾ ) from “the holy mosque” to “the farthest mosque” as well as his ascent to heaven (miʿrāj) and what he experienced there. Paintings of this wondrous event sometimes appear in illustrated manuscripts of Persian epic and romantic poetry, such as the Khamsa of Nizami, even though they are not directly related to the stories told in these works.

In this illustration, the Prophet is shown in mid-journey, riding his human-headed steed, Buraq. Rainbow-winged angels hover around him and proffer golden vessels. Among them is Archangel Gabriel: holding a banner of green, the color associated with the Prophet, he leads Muhammad on his mystical journey. Although earlier depictions of the Prophet reveal his face, here he is shown veiled, in accord with iconography adopted at the beginning of the Safavid period, in the early 1500s.[1]